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              <text>&lt;a href="https://zkm.de/en/media/video/writing-desire/" target="_blank" rel="noreferrer noopener"&gt;Watch Video (courtesy of The ZKM)&lt;/a&gt; &lt;br /&gt;&lt;a href="https://www.geobodies.org/biography/" target="_blank" rel="noreferrer noopener"&gt;Ursula Beimann Biography &amp;amp; Website&lt;/a&gt;</text>
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                <text>&lt;span&gt;Gift from the filmmaker. We went to the Whitney Independent Studio together in the 1980s and I brought her to Pitzer in the early 2000s to show her work. I follow her current work on immigration and the environment.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>&lt;em&gt;"Writing Desire&lt;/em&gt;&lt;span&gt; is about the rapport between words and body and the creation of desire. The fast-paced video links the writing of romantic desire by means of electronic communication technologies to the increasing disembodiment of sex-uality and commercialized gender relations. The booming bride market emerges as a site where the virtual and the physical exchange of bodies converge. The video examines the different subjectivities produced through this exchange in both the industrial world and in post-socialist and Southeast Asian countries and looks at their respective desires."&lt;/span&gt; &lt;a href="https://www.geobodies.org/art-and-videos/writing-desire/" target="_blank" rel="noreferrer noopener"&gt; &lt;br /&gt;- Artist's Website&lt;/a&gt;</text>
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              <text>&lt;a href="https://brooklyn.njvid.net/show.php?pid=njcore:107437" target="_blank" rel="noreferrer noopener"&gt; Watch digitized VHS on NJVid&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.amazon.com/gp/video/detail/B00B9CANGY/ref=atv_dl_rdr" target="_blank" rel="noreferrer noopener"&gt; Rent/Buy (via Amazon)&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://archives.nypl.org/mss/3614" target="_blank" rel="noreferrer noopener"&gt;Testing The Limits Video Collective (via New York Public Library Archives&lt;/a&gt;</text>
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                <text>&lt;span&gt;Acquired for research for my doctoral disseration, and then monograph, "&lt;a href="http://alexandrajuhasz.com/books/aids-tv/" target="_blank" rel="noreferrer noopener"&gt;AIDS TV&lt;/a&gt;." Made by my friends and compatriots in the AIDS activist video collective, Testing the Limits, many of who were in the Whitney ISP program before me. I learned so much from their political analysis, their commitments to collaborative and community-based media, and their abilities to move this to a broader audience while staying true to our movement.&lt;/span&gt;&lt;br /&gt;&lt;span&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Composite reel of tapes acquired for research for my doctoral disseration, then monograph, &lt;a href="http://alexandrajuhasz.com/books/aids-tv/" target="_blank" rel="noreferrer noopener"&gt;AIDS TV&lt;/a&gt;. Dubs of tapes I made to review. Not sure what the last one is.</text>
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                <text>&lt;a href="http://alexandrajuhasz.com/books/aids-tv/" target="_blank" rel="noreferrer noopener"&gt;AIDS TV: Identity, Community, and Alternative Video by Alexandra Juhasz&lt;/a&gt;</text>
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                <text>&lt;span&gt;One of three documentaries I made for GMHC's "Living with AIDS" cable tv show. All three exhibit a sustained commitment to an "intersectional" approach to understanding and representing the AIDS crisis when considering the experiences of women. This one forefronts feminist issues raised by children, including access to abortion and quality healthcare. Places AIDS into framework of reproductive rights and women’s health care. &lt;br /&gt;&lt;/span&gt;</text>
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                <text>&lt;span&gt;&lt;span&gt;Acquired for research for my doctoral disseration, then monograph, &lt;a href="http://alexandrajuhasz.com/books/aids-tv/" target="_blank" rel="noreferrer noopener"&gt;AIDS TV&lt;/a&gt;.  Gifted for me for research on my doctoral dissertation on AIDS activist video by friends and fellow activists Amber Hollibaugh and Alisa Lebow.&lt;br /&gt;&lt;br /&gt;An informative documentary on discrimination cases negotiated by NYC s Human Right Commission. Examined in details are two stories of people living with AIDS: Margie Rivera, a young woman living in Massachussetts which first expressed and then overcame its prejudices by providing support to a young AIDS patient and his family.Amber was my friend and colleague and fellow AIDS activist videomaker. We were working on representing women and AIDS early in the life of the epidemic within a feminist and lesbian activist community. Amber was an inspiration to me, and to the world, a tireless activist, artist, and champion of lesbian feminism and radical justice.&lt;br /&gt;&lt;br /&gt;More on her life and work can be found in the &lt;a href="https://www.latimes.com/obituaries/story/2023-11-11/amber-hollibaugh-obituary-radical-lgbt-activist-dies-at-77"&gt;LA Times&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;.</text>
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                <text>&lt;a href="https://actupny.org/diva/cineaste.html" target="_blank" rel="noreferrer noopener"&gt;Cineaste: "So Many Alternatives" The Alternative AIDS Video Movement by Alexandra Juhasz&lt;/a&gt;</text>
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                <text>&lt;span&gt;Dubs for teaching. I teach these videos all the time. Clarke's because she invents a powerful and early method to let people express themselves on video, Kuchar because his diary films are beautiful, funny, smart, poignant, and edited with amazing skill. Wendy Clarke is Shirley Clarke's daughter!&lt;/span&gt;</text>
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                <text>A collection of video recordings of 2,500 people from diverse backgrounds who share their personal feelings about love. Love, as described throughout the tapes, is not defined by any one singular meaning, but is instead contextualized by the variety of personal perspectives and experiences within this collection. Such interpretations of love explore lust, friendship, first love, and familial love. This selection consists of 32 edited tapes from 1978-2011. The Love Tapes project began in 1977 and is ongoing. -- &lt;a href="https://www.vdb.org/titles/love-tapes"&gt;VDB&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Love Tapes: Series 18&lt;/i&gt; includes excerpts from the extensive &lt;i&gt;Love Tapes&lt;/i&gt; series. Representing a cross-section of contemporary American culture — from prison inmates and disabled veterans to lovesick adolescents — the participants' anecdotes and confessionals reveal an eclectic range of personalities and psychologies. &lt;i&gt;Love Tapes&lt;/i&gt; are personal, cathartic statements that illustrate the video camera's role as mirror, witness and voyeur — a vehicle for direct confrontation with the self. --&lt;a href="https://www.eai.org/titles/love-tapes-series-18"&gt;EAI&lt;/a&gt;</text>
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                <text>the feature-length first entry in George Kuchar’s monumental Weather Diary series, which eventually spanned six parts and a slew of related supplementary works. Like much of Kuchar’s diaristic work, Weather Diary 1 is an utterly characteristic and deeply entertaining mix of the observational, the naked, the poetic, the uncomfortable, and the hilarious. Shot almost entirely in camera on Kuchar’s visit to Oklahoma in search of dramatic weather phenomenon, the video ultimately functions as a probing, idiosyncratic document of the humor, morbidity, and humanity of a “Bronx boy’s friendly, if somewhat freaky, foray into Americana”. --&lt;a href="https://www.lafilmforum.org/archive/spring-2014-schedule/george-kuchar-s-weather-diary-1/"&gt;Los Angeles Film Forum&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;George Kuchar was a legendary figure in the underground film scene. Raw and often outrageous, his low-tech video diaries chronicle an ongoing personal history. Kuchar's eccentric presence pervades these "home videos," which veer from the scatological to the sublime as they observe the banality and intimacy of the everyday. With perverse humor and melancholy, his video journals resonate with an unexpected poetry. --&lt;a href="https://www.eai.org/artists/george-kuchar/titles"&gt;EAI&lt;/a&gt;</text>
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                <text>Gift from filmmaker. Elspeth was a friend and colleague who I met through activist AIDS video, and documentary studies. She died tragically in her 40s.&lt;br /&gt;&lt;br /&gt;Suburbs of Eden by Cecelia Condit was also recorded on this tape.</text>
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                <text>&lt;a href="http://www.madansky.com/film-video/treyf/" target="_blank" rel="noreferrer noopener"&gt;Cynthia Madansky official website&lt;/a&gt;</text>
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                <text>Co-director Alisa Lebow performs an autocritique of the film she made in her book, First Person Jewish, available on &lt;a href="https://www.jstor.org/stable/10.5749/j.ctttv0cm"&gt;JSTOR&lt;/a&gt;. The introduction to the book is &lt;a href="https://alisalebow.net/pdf/Books/Lebow-FPJ-Intro.pdf"&gt;available for free&lt;/a&gt;. She dedicates a full chapter “A Treyf Autocritique of Autobiography” to this film. &lt;br /&gt;&lt;br /&gt;Interview with co-director Cynthia Madansky discusses the origins of the film in a 2020 episode of the “&lt;a href="https://www.twooldbitches.com/podcast/2020/3/15/season-5-episode-09-cynthia-madansky-always-avant-garde"&gt;Two Old Bitches&lt;/a&gt;” podcast.</text>
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                <text>&lt;span&gt;Gift from filmmaker. Alisa is a longtime friend and collaborator who I met making AIDS activist video. We co-authored the &lt;a href="https://blackwells.co.uk/bookshop/product/9781119685661?gC=098f6bcd4&amp;amp;gclid=CjwKCAiAlrSPBhBaEiwAuLSDUIlPxjc2LDeyvpIVnC88bMZmXMqJsRgDTmitp4diQ9D3FNH7U5aTDxoC-9UQAvD_BwE"&gt;Blackwell Anthology on Contemporary Documentary&lt;/a&gt; together many years later, and recently co-penned the manifesto "&lt;a href="https://worldrecordsjournal.org/beyond-story-comments/"&gt;Beyond Story&lt;/a&gt;" for World Records. I still teach with this documentary because of its playful mixture of approaches to identity in both form and content. It still teaches great! Cynthia Madansky recently designed the cover of my book of poems, "My Phone Lies to Me." She is a friend and fellow queer feminist filmmaker currently working on a &lt;a href="https://madansky.com/film-video/index-trace/"&gt;landmark documentary project on nuclear history&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>TREYF —“unkosher” in Yiddish— is an unorthodox documentary by and about two Jewish lesbians who met and fell in love at a Passover “seder”. With personal narration, real and imagined educational films, and haunting imagery, filmmakers Alisa Lebow and Cynthia Madansky examine the Jewish identity of their upbringings and its impact on their lives. Incisive cultural critics, astute, poignant, and poetic—never cynical—they weave their way from New York to Jerusalem in pursuit of a progressive, secular Jewish identity that draws from their childhood reminiscences as much as from their contemporary queer lives. As referenced in Alisa Lebow’s book First Person Jewish, TREYF is iconoclastic and intelligent, humorous and poignant, a personal journey from kibbutz summers to coming out, from keeping kosher to “Bat Mitzvahs.” A reflection on culture, community, and individual desire, this witty film follows the filmmakers as they discover what they thought was most profoundly “treyf” about their worldviews still has roots in Jewish history. </text>
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                <text>Coda: In Love, Anger, and Loss&lt;span class="subtitle-colon"&gt;: &lt;/span&gt;&lt;span class="subtitle"&gt;Barbara Hammer and Carolee Schneemann, &lt;em&gt;Feminist Media Histories, &lt;a href="https://online.ucpress.edu/fmh/issue/5/4"&gt;&lt;span class="volume issue"&gt;Volume 5, Issue 4&lt;/span&gt;&lt;/a&gt;&lt;/em&gt;&lt;/span&gt;</text>
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                <text>&lt;span&gt;Gift from filmmaker. Barbara is a friend and colleage. She was one of the subjects of my book and documentary on feminist film history, &lt;a href="https://www.imdb.com/title/tt5095804/"&gt;Women of Vision&lt;/a&gt;. Over a long career in filmmaking, Barbara explored many styles and theories that would allow her to best represent lesbian experience, sexuality, identity, and politics. She was a mentor, a bon vivant, and an activist. I interviewed her about her late in life retrospective at the Leslie Lohman Gallery in 2017 for the &lt;a href="https://brooklynrail.org/2017/12/film/IN-CONVERSATION-BARBARA-HAMMER-with-Alexandra-Juhasz/"&gt;Brooklyn Rail&lt;/a&gt;, and then commemerated her, Carollee Schnemann, and Agnes Varda after their deaths in a piece for &lt;a href="https://hyperallergic.com/617414/for-feminist-artists-recognition-often-comes-too-late/"&gt;hyperallergic&lt;/a&gt;.&lt;/span&gt;</text>
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                <text>A video of experimental films by Barbara Hammer. They include Bent Time, Pools, Pond &amp; Waterfall, and Stone Circle&#13;
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Pools (6:30)&#13;
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                <text>&lt;span&gt;&lt;span&gt;"I was in this porno with Cheryl Dunye [my ex partner] made by our friend Shu Lea Cheang. Because I was just starting in my first job as an assistant professor at Swarthmore College, so I asked to not be identifable. We screened it as part of the inter-generational programming, &lt;/span&gt;&lt;/span&gt;&lt;a href="https://www.centerforthehumanities.org/programming/collective-visions-the-past-present-and-future-of-feminist-media"&gt;Collective Visions: The Past, Present, and Future of Feminist Media&lt;/a&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;. While a little embarassing, I know it's beautiful. And I interviewed Shu Lea on her request when I helped to bring her new film, a feature art porn set in a time after HIV, Fliud-0, to NYC." (as told to &lt;a href="https://activismvhs.omeka.net/brianna-jones"&gt;Brianna Jones&lt;/a&gt;, archivist, as she began to help Alex account for the 200 tapes in this collection).&lt;br /&gt;&lt;br /&gt;Shu Lea and Alex went on to engage over the years, most recently in an article they co-wrote about her AIDS film Fluid-0, &lt;a href="https://academicworks.cuny.edu/bc_pubs/272/"&gt;When Are you Going to Catch up with Me&lt;/a&gt;? Shu Lea was also a participant with about 50 or more media feminists in the research meeting Alex recorded as research for what would become Women of Vision. &lt;a href="https://womxn-of-vision.netlify.app/item/research-meeting-1994/"&gt;The tape of that research meeting&lt;/a&gt; held in NY in 1994 has been annotated and is available here. &lt;br /&gt;&lt;br /&gt;(the dub of Sex Fish seemd to have been recorded on a tape after some of a program with behind-the-scenes footage from the making of the film "Alien")&lt;br /&gt;&lt;/span&gt;</text>
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                <text>&lt;a href="https://www.vdb.org/collection/browser-artist-list/shu-lea-cheang-lesbian-shorts" target="_blank" rel="noreferrer noopener"&gt;Video Data Bank: Shu Lea Cheang: Lesbian Shorts&lt;/a&gt;</text>
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                <text>&lt;a href="http://alexandrajuhasz.com/talks/brooklyn-bazaar-fluid-0/" target="_blank" rel="noreferrer noopener"&gt;Brooklyn Bazaar, Fluid 0&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.ucpress.edu/series/fmh/feminist-media-histories" target="_blank" rel="noreferrer noopener"&gt;Feminist Media Histories&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.centerforthehumanities.org/programming/collective-visions-the-past-present-and-future-of-feminist-media"&gt;Collective Visions: The Past, Present, and Future of Feminist Media&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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              <text>&lt;a href="https://www.pomona.edu/directory/people/victor-i-silverman" target="_blank" rel="noreferrer noopener"&gt;Victor Silverman&lt;/a&gt;, &lt;a href="https://wgss.yale.edu/people/susan-stryker" target="_blank" rel="noreferrer noopener"&gt;Susan Stryker&lt;/a&gt;</text>
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              <text>&lt;a href="https://www.amazon.com/Screaming-Queens-Riot-Comptons-Cafeteria/dp/B07FK3JP6P" target="_blank" rel="noreferrer noopener"&gt;Stream on Amazon&lt;/a&gt;</text>
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                <text>&lt;span&gt;Gift from filmmaker. Victor was a colleague at the Claremont Colleges. We spoke often about his developing documentary practice. Susan is a friend and colleague. The documentary makes an important intervention into queer and trans history and film by introducing the organizing power and history of transpeople outside of NY and before Stonewall.&lt;/span&gt;</text>
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                <text>EMMY Award-winning Screaming Queens tells the little-known story of the first known act of collective, violent resistance to the social oppression of queer people in the United States - a 1966 riot in San Francisco's impoverished Tenderloin neighborhood, three years before the famous gay riot at New York's Stonewall Inn. (&lt;a href="https://www.kanopy.com/product/screaming-queens" target="_blank" rel="noreferrer noopener"&gt;Kanopy&lt;/a&gt;)</text>
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                <text>Gift from filmmaker. Barbara was a friend and colleague, inspiration and radical. A lesbian experimental filmmaker, teacher, and activist, she made work for decades, as queer, lesbian, feminist, and AIDS activism transformed. She was a subject of my film and book, Women of Vision, a history of feminist film and media, and gave me tapes to use as b-roll. I subsequently interviewed her again, many years later, as she enjoyed a solo show at the Leslie Lohman Gay and Lesbian Gallery in NY. After her death, I published a piece in Hyperallergic where I considered why such attention is so late in coming for feminist/queer filmmakers.</text>
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                <text>The Potluck and The Passion; The Body Beautiful</text>
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                <text>&lt;span&gt;&lt;span&gt;Gift from filmmaker. Cheryl is a long-time collaborator (we made The Watermelon Woman together). I teach her videos often. She is my ex-partner. Cheryl's work is formative in her documentary/fiction bleed. I taped Body Beautiful onto this tape that Cheryl gave me of Potluck, and used them both for teaching.&lt;br /&gt;&lt;br /&gt;One of the 18 subjects of my book and documentary, Women of Vision, she co-authored an essay "&lt;/span&gt;&lt;/span&gt;&lt;a href="https://online.ucpress.edu/fmh/article-abstract/5/4/68/109531/The-Fourth-WallWomen-of-Vision-Revisited?redirectedFrom=fulltext"&gt;The Fourth Wall&lt;span class="subtitle-colon"&gt;: &lt;/span&gt;&lt;/a&gt;&lt;span class="subtitle"&gt;&lt;span class="subtitle"&gt;&lt;a href="https://online.ucpress.edu/fmh/article-abstract/5/4/68/109531/The-Fourth-WallWomen-of-Vision-Revisited?redirectedFrom=fulltext"&gt;&lt;em&gt;Women of Vision&lt;/em&gt; Revisited&lt;/a&gt;," with &lt;/span&gt;&lt;/span&gt;&lt;a class="linked-name js-linked-name stats-author-info-trigger"&gt;Toni Adeyemi&lt;/a&gt;&lt;span class="al-author-delim"&gt; and &lt;/span&gt;Karina Hodoyán for the special issue I co-edited with Angela Aguayo, "&lt;a href="https://online.ucpress.edu/fmh/issue/5/4"&gt;Informed Historical Reveries,&lt;/a&gt;" for Feminist Media Histories 5:4, 2019.&lt;span class="al-author-delim"&gt;&lt;/span&gt;</text>
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                <text>feminist, queer, video art, experimental documentary, African-American</text>
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                <text>&lt;a href="https://mubi.com/films/the-potluck-and-the-passion" target="_blank" rel="noreferrer noopener"&gt;Mubi: The Potluck and the Passion&lt;/a&gt;</text>
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                <text>&lt;a href="https://thestopbutton.com/2018/07/11/potluck-passion-1993/" target="_blank" rel="noreferrer noopener"&gt;The Stop Button: The Potluck and the Passion&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.eai.org/titles/the-potluck-and-the-passion" target="_blank" rel="noreferrer noopener"&gt;Electronic Arts Intermix: The Potluck and the Passion&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.jingletownfilms.com/cheryl-dunye" target="_blank" rel="noreferrer noopener"&gt;Jingletown Films: Cheryl Dunye&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.wmm.com/filmmaker/Ngozi+Onwurah/" target="_blank" rel="noreferrer noopener"&gt;Women Make Movies: Ngozi Onwurah&lt;/a&gt;</text>
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                <text>The Fourth Wall: Women of Vision Revisted, Cheryl Dunye, Karina Hadoyan, Toni Adeyemi, &lt;a href="https://online.ucpress.edu/fmh/issue/5/4"&gt;Feminist Media Histories&lt;/a&gt;, 4:5</text>
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                <text>The Potluck and the Passion: To celebrate their one year anniversary, a black lesbian couple have a potluck dinner party. Each partner invites several of her own friends, hoping variety will make for a stimulating evening. (&lt;a href="https://mubi.com/films/the-potluck-and-the-passion" target="_blank" rel="noreferrer noopener"&gt;Mubi&lt;/a&gt;)&lt;br /&gt;&lt;br /&gt;&lt;span&gt;The Body Beautiful: This bold, stunning exploration of a white mother who undergoes a radical mastectomy and her Black daughter who embarks on a modeling career reveals the profound effects of body image and the strain of racial and sexual identity on their charged, intensely loving bond. (&lt;a href="https://www.criterionchannel.com/the-body-beautiful" target="_blank" rel="noreferrer noopener"&gt;Criterion&lt;/a&gt;)&lt;/span&gt;</text>
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                <text>Alexandra Juhasz</text>
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                <text>&lt;a href="https://www.criterionchannel.com/the-potluck-and-the-passion"&gt;The Criterion Channel&lt;/a&gt;</text>
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                <text>Autobiographical account of a mother-daughter relationship, exploring beauty standards and female sexuality. -BFI Player</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                  <text>Alexandra Juhasz</text>
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                  <text>1980-2010</text>
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                  <text>Emily Fairey</text>
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                  <text>Brianna Jones</text>
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              <text>For research, teaching, and educational use please use CONTACT US in About section to make a request for access.</text>
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                <text>&lt;span&gt;Purchased for teaching. I taught often with this collection at Pitzer College over many years and in a variety of Media Studies classes from Feminist Documentary to Video Art. It's an imprtant and large compliation documenting the history of feminist video art. It is currently not in distribution.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Feminist, Video Art, Woman Filmmaker, Lesbian, Experimental </text>
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                <text>&lt;a href="https://rochester.userservices.exlibrisgroup.com/discovery/openurl?institution=01ROCH_INST&amp;amp;rfr_id=info:sid%2Fsummon&amp;amp;rft_dat=ie%3D22199432480005216,language%3DEN&amp;amp;svc_dat=CTO&amp;amp;u.ignore_date_coverage=true&amp;amp;vid=01ROCH_INST:Services" target="_blank" rel="noreferrer noopener"&gt;University of Rochester Library&lt;/a&gt;</text>
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&#13;
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&#13;
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https://stiftung-imai.de/en/video/catalogue&#13;
&#13;
Interviews with Max Almy:&#13;
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https://doi-org.ezproxy.gc.cuny.edu/10.1215/02705346-4-3_12-3&#13;
&#13;
-Leaving the 20th Century: Interview with Max Almy. Camera Obscura 1 December 1984; 4 (3 (12)): 18–39. doi: https://doi-org.ezproxy.gc.cuny.edu/10.1215/02705346-4-3_12-18</text>
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https://en.wikipedia.org/wiki/Lyn_Blumenthal</text>
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                <text>Acquired as research for &lt;a href="http://alexandrajuhasz.com/films-videos/women-of-vision-18-histories-in-feminist-film-and-video" target="_blank" rel="noreferrer noopener"&gt;Women of Vision&lt;/a&gt; from the distributors. Yvonne was my teacher at the Whitney Independent Studio Program and a role model for a life as a feminist queer artist, as well as for her conceptual, intellectual, and experimental inspirations. This is the first 30 mins only; the tape is no longer showing video.&lt;br /&gt;&lt;br /&gt;She also attended, along &lt;span&gt;with about 50 or more media feminists, the research meeting I recorded for what would become Women of Vision. &lt;a href="https://womxn-of-vision.netlify.app/item/research-meeting-1994/"&gt;The tape of that research meeting&lt;/a&gt; held in NY in 1994 has been annotated and is available here. &lt;/span&gt;</text>
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                <text>&lt;a href="https://zeitgeistfilms.com/film/murderandmurder" target="_blank" rel="noreferrer noopener"&gt;Zeitgeist Films&lt;/a&gt;</text>
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                <text>Rainer’s last feature is also one of her most personal, inspired by the lows and highs of a breast cancer diagnosis in the early 1990s, and the surprise of a burgeoning lesbian relationship. The latter is playfully refracted here through the love story of two women from very different backgrounds: Yvonne’s sixty-something screen counterpart Doris (Joanna Merlin) who gleefully announces that she “loves eating pussy,” and the younger academic she’s soon to move in with, Mildred (Kathleen Chalfant). A comic romance whose emotions are amplified by Rainer’s structural tomfoolery and signature intellectual rigor—with the director providing running commentary and appearing intermittently to address the camera—MURDER and murder probes the pleasures, and attendant questions, of late-in-life love affairs. -- &lt;a href="https://zeitgeistfilms.com/film/murderandmurder"&gt;Zeitgest Films&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                <text>&lt;span&gt;Acquired as research for Women of Vision from the distributors. I also used this film for classes in women's and feminist films. Yvonne was my teacher at the Whitney Program in the 1980s. She can be seen in the 4+ hours of research footage I shot for this project in NYC in 1990, along with 40 other media feminists, &lt;a href="https://womxn-of-vision.netlify.app/item/research-meeting-1994/" target="_blank" rel="noreferrer noopener"&gt;now online&lt;/a&gt; as part of the larger re-visit to this project &lt;a href="https://online.ucpress.edu/fmh/article-abstract/5/4/1/109521/Editors-IntroductionInformed-Historical-Reveries?redirectedFrom=fulltext" target="_blank" rel="noreferrer noopener"&gt;published&lt;/a&gt; by Feminist Media Histories in 2019.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;"&lt;span&gt;Rainer's landmark film is a meditation on ambivalence that plays with cliche and the conventions of soap opera while telling the story of a woman whose sexual dissatisfaction masks an enormous anger." &lt;a href="https://www.imdb.com/title/tt0071497/" target="_blank" rel="noreferrer noopener"&gt;(IMDB)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>&lt;a href="https://www.vdb.org/artists/yvonne-rainer" target="_blank" rel="noreferrer noopener"&gt;Video Data Bank: Yvonne Rainer&lt;/a&gt;</text>
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                <text>Picking up where Lives of Performers left off, Rainer’s second, landmark feature tells the story of a woman whose sexual dissatisfaction masks an enormous anger, with Rainer needling at questions raised by contemporary feminism about the relationship between the representation of romantic clichés and sexual repression. Borrowing techniques from soap opera, the formally fractured yet exuberant Film About a Woman Who… combines voiceover, intertitles, simulated “still” images, and dinner-table discussions to provocative, often contradictory effect. Long silences and Babette Mangolte’s fluid black-and-white images only heighten the darting, doubt-ridden, highly dislocating drama. Synopsis courtesy of The Metrograph. &lt;a href="https://zeitgeistfilms.com/film/filmaboutawomanwho"&gt;Zeitgeist Films&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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              <text>&lt;a href="https://lux.org.uk/artist/vanalyne-green" target="_blank" rel="noreferrer noopener"&gt;Vanalyne Green&lt;/a&gt;</text>
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                <text>&lt;span&gt;Gift from filmmaker. Vanalyne is a friend and colleague. She was a subject of my documentary &lt;a href="http://alexandrajuhasz.com/films-videos/women-of-vision-18-histories-in-feminist-film-and-video/" target="_blank" rel="noreferrer noopener"&gt;Women of Vision&lt;/a&gt; and would have given this to me to use for b-roll and teaching. &lt;a href="https://vimeo.com/manage/videos/265249323/f7ed3d9cea"&gt;Here&lt;/a&gt; is the interview I conducted with her for that project.&lt;br /&gt;&lt;br /&gt;She also attended, along with about 30 or more media feminists, a research meeting I recorded for what would become Women of Vision. &lt;a href="https://vimeo.com/265249356?share=copy"&gt;Digitized versions&lt;/a&gt; of the VHS tapes of the Chicago research meeting can be found on my vimeo page. &lt;br /&gt;&lt;/span&gt;</text>
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                <text>&lt;span&gt;Video artist meets a handsome and enigmatic Marlboro Man; video artist gets a sexually transmitted disease. Vanalyne Green reworks the sex-education film to take a critical look at cherished stereotypes about romance, the American West, and cowboys. (&lt;a href="https://mubi.com/films/saddle-sores" target="_blank" rel="noreferrer noopener"&gt;MUBI&lt;/a&gt;)&lt;/span&gt;</text>
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                <text>Chicagoan Vanalyne Green’s 20-minute video (1998), about contracting herpes from a Wyoming cowboy, includes many film clips, photographs, printed titles, western musical favorites, conversations with and responses from friends (as well as one lab technician), and confessions (both on-screen and off). This is every bit as jokey and as analytical as Green’s longer and earlier A Spy in the House That Ruth Built, about her sexual attraction to baseball players, but the narration here is much more self-accusing—about her romanticism regarding cowboys, about how she let herself get herpes, and about the shame she felt as a consequence—which makes the relentlessly bantering tone a lot more unsettling and challenging. --&lt;a href="https://chicagoreader.com/film/saddle-sores-a-blue-western/"&gt;Jonathan Rosenbaum&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                <text>Gift from filmmaker. I knew Jennifer in the early 90s and taught this important film at that time. The interaction between experimental filmmaking and documentary in her work is compelling.</text>
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                <text>&lt;a href="https://www.vdb.org/collection/browser-artist-list/art-teachers-children" target="_blank" rel="noreferrer noopener"&gt;Video Data Bank: Art For Teachers of Children&lt;/a&gt;</text>
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                <text>&lt;a href="http://history.sffs.org/films/film_details.php?id=287" target="_blank" rel="noreferrer noopener"&gt;San Francisco Film Festival&lt;/a&gt;</text>
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                <text>Jennifer, an intelligent but insecure 14-year-old student at a boarding school, seduces her married dormitory counselor, a photographer who has offered to teach her about his art and winds up shooting her in the nude. She is naive, and he manipulates her into an affair that eventually is discovered. Years later, as the photographer is being investigated by the FBI, the adult woman remembers her first love as a case of herself watching the artist who watched her.&#13;
&#13;
""Art," "teachers" and "children" are all loaded words, and Jennifer Montgomery's coolly ruminative film about adolescent sexuality explores their meaning. Art for Teachers of Children is Ms. Montgomery's autobiographical, sexually frank account of a high school student who has an affair with a married teacher. The film examines the dynamics of seduction, exploitation and power as it brings this relationship to light."&#13;
&#13;
– Janet Maslin, The New York Times&#13;
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                <text>&lt;span&gt;Carolee was one of the subjects of &lt;a href="http://alexandrajuhasz.com/books/women-of-vision/" target="_blank" rel="noreferrer noopener"&gt;Women of Vision&lt;/a&gt;. She gave this and other tapes of her film and video work to me for B-roll. I recently re-interviewed her when she had a major retrospective in NYC at PS1. I went to her house upstate and had a memorable day: interview, meal, and she gave me three pairs of shoes (we have the same shoe size!) which I love to walk in. I published an homage to her, Barbara Hammer, and Agnes Varda after their deaths in &lt;a href="https://hyperallergic.com/617414/for-feminist-artists-recognition-often-comes-too-late/" target="_blank" rel="noreferrer noopener"&gt;hyperallegic&lt;/a&gt;, and also in the &lt;a href="https://online.ucpress.edu/fmh/article-abstract/5/4/1/109521/Editors-IntroductionInformed-Historical-Reveries?redirectedFrom=fulltext" target="_blank" rel="noreferrer noopener"&gt;Feminist Media Histories&lt;/a&gt; special issue.&lt;/span&gt;</text>
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                <text>Plague Column: Known Unknown, 1995 mixed media installation 32 ¼ × 12 in. (81.92 × 30.48 cm) The title refers to a Viennese plague column from the 17th century, in which the bubonic plague is represented as a witch; the victory over disease is imagined as the conquering of an unruly and malignant femininity. Video loops of enlarged permutated cancer cells are juxtaposed with grids of religious icons. The savagery of the witch hunt and of breast cancer itself are unified within the maligned body, both feared and desired. --&lt;a href="https://www.schneemannfoundation.org/artworks/plague-column-known-unknown"&gt;Carolee Schneemann Foundation&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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              <text>&lt;p&gt;&lt;a href="https://vimeo.com/carolleigh"&gt;Carol Leigh&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>&lt;a href="http://www.bayswan.org/ScarlotHarlotTV" target="_blank" rel="noreferrer noopener"&gt;ScarlotHarlotTV&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://www.bayswan.org/leigh_bio.html"&gt;Personal Professional Website&lt;/a&gt;</text>
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                <text>Gift from filmmaker. Carol was a friend and collaborator who I first met making AIDS activist video. She was also a subject of my documentary &lt;a href="http://alexandrajuhasz.com/films-videos/women-of-vision-18-histories-in-feminist-film-and-video/" target="_blank" rel="noreferrer noopener"&gt;Women of Vision&lt;/a&gt;. Students love learning about her large oeuvre connecting sex work, feminism, AIDS and activism. Several projects in this archive have been made since, about and with Carol Leigh, including the group project &lt;a href="https://activismvhs.omeka.net/items/show/440"&gt;GROUP SEX&lt;/a&gt;, made in 2018, which includes an interview with Carol and documents of a group performance. She was also actively involved in the Day With(out) Art video program I co-edited with Hugh Ryan and Jean Carlomusto, &lt;a href="https://visualaids.org/projects/compulsive-practice"&gt;Compulsive Practice&lt;/a&gt;. She was one of 9 featured videomakers.&lt;br /&gt;&lt;br /&gt;Please visit the Scarlot Harlot &lt;a href="https://carolleighmemorial.com/"&gt;memorial&lt;/a&gt;. Her loss is huge. You can see that she made sure to archive her own immense body of video works, and her friends and colleagues have continued this radical activist act of expression and memory.</text>
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                <text>Animated comedy starring famous prostitute, Carol Leigh (also known as Scarlot Harlot) and her mom, about Leigh's efforts to obtain respectability as an artist, and to secure funding for a video about her mother's mink. &lt;a href="https://vimeo.com/118767977" target="_blank" rel="noreferrer noopener"&gt;(Vimeo)&lt;/a&gt;</text>
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              <text>&lt;a href="https://www.wmm.com/filmmaker/Julie+Gustafson/" target="_blank" rel="noreferrer noopener"&gt;Julie Gustafson&lt;/a&gt;</text>
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              <text>&lt;a href="https://archive.org/details/aminoraltercation" target="_blank" rel="noreferrer noopener"&gt;Stream &lt;em&gt;A Minor Altercation&lt;/em&gt; on Internet Archive&lt;/a&gt;</text>
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                <text>Dub for teaching. Amazing resource about consciousness-raising and its relation to video. Powerful to this day in its forthright conversation about women's sexuality. Minor Altercation is also on this tape. One of the first narrative films directed by an African American woman. This dub was either for teaching or research for Women of Vision.&lt;br /&gt;&lt;br /&gt;(degraded tape!)</text>
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                <text>Politics of Intimacy [1974]: Amazing resource about consciousness-raising and its relation to video. Powerful to this day in its forthright conversation about women's sexuality. Directed by Julie Gustafson. Black &amp; White. Runtime 00:52:20. &#13;
&#13;
Minor Altercation [1977]: One of the first narrative films directed by an African American woman. "A fight between an African American and a white schoolgirl in Boston is explored in all its complexity in this fact-based drama from one of the producers of EYES ON THE PRIZE."  Directed by Jackie Shearer. Runtime 30 minutes.</text>
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                <text>&lt;a href="https://www.wmm.com/catalog/film/a-minor-altercation/" target="_blank" rel="noreferrer noopener"&gt;Women Make Movies: A Minor Altercation&lt;/a&gt;</text>
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                <text>&lt;a href="https://tribecafilm.com/news/films-by-black-women-directors-guide"&gt;Tribeca Film: A Guide to Essential, Underrated, and Flat-Out Extraordinary Films by Black Women Directors by Matthew Eng&lt;/a&gt;</text>
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                <text>&lt;a href="http://alexandrajuhasz.com/books/women-of-vision/" target="_blank" rel="noreferrer noopener"&gt;Woman Of Vision by Alexandra Juhasz&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.vdb.org/collection/browser-artist-list/surveying-first-decade-volume-2" target="_blank" rel="noreferrer noopener"&gt;Video Data Bank: Surveying the First Decade: Volume 2&lt;/a&gt;</text>
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                <text>With Jacqueline Shearer’s sympathetic lens, a fight between two school-aged girls — one Black, one white — becomes a playground to discuss racism, classism, misogynoir, and the bureaucracy of high school education. -- &lt;a href="https://blackfilmarchive.com/A-Minor-Altercation"&gt;Blackfilmarchive&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                  <text>Emily Fairey</text>
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              <text>Yvonne Rainer</text>
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              <text>For research, teaching, and educational use please use CONTACT US in About section to make a request for access.</text>
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                <text>Dub for research for Women of Vision acquired from distributor. I taped over a video with a box label reading: Riverside Art-4, Fall 97, Jacob Lind, which led to some initial confusion when the Brooklyn College Librarians and I were trying to make sense of this tape. Yvonne was one of the instructors at the Whitney Independent Studio Program when I was a student there in 1987-88. How amazing to have been in her orbit!&lt;br /&gt;&lt;br /&gt;She also attended, along &lt;span&gt;with about 50 or more media feminists, the research meeting I recorded for what would become Women of Vision. &lt;a href="https://womxn-of-vision.netlify.app/item/research-meeting-1994/"&gt;The tape of that research meeting&lt;/a&gt; held in NY in 1994 has been annotated and is available here. &lt;/span&gt;</text>
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                <text>A stark and revealing examination of romantic alliances, Lives of Performers examines the dilemma of a man who can’t choose between two women and makes them both suffer. &lt;a href="https://imma.ie/whats-on/yvonne-rainer-lives-of-performers-1972/" target="_blank" rel="noreferrer noopener"&gt;(IMMA)&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.artforum.com/film/melissa-anderson-on-yvonne-rainer-s-lives-of-performers-44120" target="_blank" rel="noreferrer noopener"&gt;ArtForum: EMOTIONAL INTELLIGENCE Melissa Anderson on Yvonne Rainer’s Lives of Performers&lt;/a&gt;</text>
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                <text>&lt;a href="https://brooklyn.kanopy.com/node/5348129/preview" target="_blank" rel="noreferrer noopener"&gt;Kanopy&lt;/a&gt;</text>
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              <text>&lt;a href="https://ayomentary.com/" target="_blank" rel="noreferrer noopener"&gt;Ayoka Chenzira&lt;/a&gt;</text>
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                <text>Dub for teaching. I used these films often in my first years teaching feminist and women's film. Maybe Women Make Movies or the artists sent them to me for research for my film and book, &lt;a href="https://store.cinemaguild.com/nontheatrical/product/1007.html"&gt;Women of Vision&lt;/a&gt;.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Hair Piece&lt;/strong&gt;&lt;/em&gt;&lt;br /&gt;&lt;a href="https://ayomentary.com/black-indie-classics-collection-vol-1/hair-piece/" target="_blank" rel="noreferrer noopener"&gt;Ayomentary: Hair Piece&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.spelman.edu/about-us/news-and-events/our-stories/stories/2019/01/04/ayoka-chenzira-national-registry" target="_blank" rel="noreferrer noopener"&gt;Spelman: Our Stories Film by Ayoka Chenzira Added to National Registry&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.degruyter.com/document/doi/10.1515/9780822387961-012/html" target="_blank" rel="noreferrer noopener"&gt;Post–Third Worldist Culture: Gender, Nation, and the Cinema by Ella Shohat&lt;/a&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;Flag&lt;/em&gt;&lt;/strong&gt;&lt;br /&gt;&lt;a href="https://www.upress.umn.edu/book-division/books/a-line-of-sight" target="_blank" rel="noreferrer noopener"&gt;A Line of Sight American Avant-Garde Film since 1965 by Paul Arthur&lt;/a&gt;</text>
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                <text>Hair Piece: A Film for Nappyheaded People (1984) is an animated satire that unpacks the stereotypes associated with Black hair texture and styles, and the ways in which Black hair is made to be non-normative. In this satirical short that incorporates mixed media and animation, Chenizira critiques the limits of the European beauty standard. She draws attention to the physical pains Black women have endured to straighten their hair, and the emotional pain that comes as a result of the pressure to conform. Hair Piece also commemorates the power of Black cultural icons and the Soul Power era for helping to shift the perception of Black hair from ‘nappy’ to a texture of beauty. -- &lt;a href="https://vimeo.com/259319228"&gt;Ayoka Chenzira&lt;/a&gt;</text>
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                <text>Linda Gibson revisits the emotional disturbance produced by her early fascination with patriotic symbols and rituals. She assembles a patchwork of scenes around discrepancies between democratic rhetoric and the reality of racial exclusion, mingling a child’s diary entries, stills and home movies, printed texts, street interviews with people attempting to define the meaning of the American flag, and a medley of physical routines in which idiosyncratic dance movements collide with stylized variations on saluting. “Flag” flickers with the uncertainties of memory, the evocation of a child’s credulous view of equality tempered by an adult knowledge of social hierarchy and oppression. – &lt;a href="https://letterboxd.com/film/flag-1989/"&gt;Paul Arthur&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                <text>&lt;span&gt;Gift from filmmaker. Fatimah is a friend and colleage and like me, a hyphonate PhD/filmmaker. We shared work and screened each others' films on many occasions.&lt;/span&gt;</text>
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              <text>&lt;a href="https://www.susanmogul.com/" target="_blank" rel="noreferrer noopener"&gt;Susan Mogul&lt;/a&gt;</text>
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&lt;p&gt;&lt;a href="https://vimeo.com/135700586"&gt;"I Stare at You and Dream", 1997, TRT 60 Minutes - Clip 1&lt;/a&gt; from &lt;a href="https://vimeo.com/user15670836"&gt;Susan Mogul&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>&lt;a href="https://www.vdb.org/collection/browser-artist-list/i-stare-you-and-dream" target="_blank" rel="noreferrer noopener"&gt;Video Data Bank&lt;/a&gt;</text>
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                <text>&lt;a href="http://alexandrajuhasz.com/books/women-of-vision/" target="_blank" rel="noreferrer noopener"&gt;Women of Vision: Histories in Feminist Film and Video, Alexandra Juhasz&lt;/a&gt;</text>
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                <text>Gift from filmmaker. I worked with Susan on my documentary and book, &lt;a href="http://alexandrajuhasz.com/books/women-of-vision/" target="_blank" rel="noreferrer noopener"&gt;Women of Vision.&lt;/a&gt;</text>
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                <text>I Stare at You and Dream is a slice of life melodrama that journeys to the core of interrelationships. This film juxtaposes and links the lives of four people: the filmmaker, Susan Mogul; her friend, Rosie Sanchez; Rosie’s teenage daughter, Alejandra (Alex) Sanchez; and Ray Aguilar; Susan’s-on-and-off boyfriend. Tender and unflinching, each character gradually reveals their desires, wounds, and romantic entanglements in the context of their everyday lives. &lt;a href="https://www.vdb.org/collection/browser-artist-list/i-stare-you-and-dream" target="_blank" rel="noreferrer noopener"&gt;(VDB)&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                  <text>Emily Fairey</text>
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              <text>Lynne Littman; Barbara Myerhoff</text>
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              <text>Lynne Littman</text>
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              <text>&lt;a href="http://www.directcinema.com/category/131/490" target="_blank" rel="noreferrer noopener"&gt;Buy via Direct Cinema&lt;/a&gt;</text>
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              <text>For research, teaching, and educational use please use CONTACT US in About section to make a request for access.</text>
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                <text>In Her Own Time: The Final Fieldwork of Barbara Myerhoff and Number Our Days</text>
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                <text>&lt;span&gt;I taught these films often in feminist documentary as well as in a course on ethnographic film and autobiography. Barbara Myerhoff's self-reflexive, community-situated documentary-making has long been a model for me. I learned about her work from my mentor, teacher, and friend, Faye Ginsburg.&lt;/span&gt;</text>
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                <text>feminist, Jewish, ethnographic, documentary, woman filmmaker</text>
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                <text>&lt;em&gt;In Her Own Time&lt;/em&gt; &lt;br /&gt;Based on the field work of Dr. Barbara Myerhoff, this is a documentary exploring the diverse Fairfax district Jewish Community in Los Angeles, California." &lt;a href="Based%20on%20the%20field%20work%20of%20Dr.%20Barbara%20Myerhoff,%20this%20is%20a%20documentary%20exploring%20the%20diverse%20Fairfax%20district%20Jewish%20Community%20in%20Los%20Angeles,%20California." target="_blank" rel="noreferrer noopener"&gt;(IMDB)&lt;/a&gt;</text>
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                <text>&lt;em&gt;Number Our Days&lt;/em&gt;&lt;br /&gt;A sensitive portrait of a community of elderly Eastern European Jews who, living by the Pacific Ocean in Venice, California, sustain their vivid culture in the face of poverty, loneliness, and extreme old age. Based on the book by the late Barbara Myerhoff. Best Short Documentary, 1976 Academy Awards. &lt;a href="https://jfi.org/watch-online/jfi-on-demand/number-our-days" target="_blank" rel="noreferrer noopener"&gt;(Jewish Film Institute)&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.directcinema.com/category/131/225"&gt;Direct Cinema&lt;/a&gt;</text>
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                <text>A cinematic doppelganger without precedent, Elisabeth Subrin's Shulie uncannily and systemically bends time and cinematic code alike, projecting the viewer 30 years into the past to rediscover a woman out of time and a time out of joint—and in Subrin's words, 'to investigate the mythos and residue of the late 60s.' Staging an extended act of homage, as well as a playful, provocative confounding of filmic propriety, Subrin and her creative collaborator Kim Soss resurrect a little-known 1967 documentary portrait of a young Chicago art student, who a few years later would become a notable figure in Second Wave feminism, and author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Reflecting on her life and times, Shulie functions as a prism for refracting questions of gender, race and class that resonate in our era as in hers, while through painstaking mediation, Subrin makes manifest the eternal return of film."&#13;
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&lt;p&gt;&lt;a href="https://vimeo.com/45333410"&gt;Lucille&lt;/a&gt; from &lt;a href="https://vimeo.com/freewaves"&gt;Freewaves&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>Gift from filmmaker. Enid was a frequent collaborator as an editor and artist, and one of my favorite video artists of the 1990s. She edited my documentaries, Dear Gabe and Video Remains. She continues making art that links to the sciences focusing on outdoor social-emotional learning.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;&lt;/span&gt;</text>
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                <text>"&lt;span&gt;Lucille re-enacts a scene in the movie Cool Hand Luke, where a country girl saunters out of her house and starts washing an old car, as the chain gang looks on from a ditch they are digging. George Kennedy's character, Dragline, watches her panting and exclaiming "Anything that sweet and innocent has to be called Lucille "... His character fixates on the idea of her innocence as part of his fantasy of purse sexuality. Paul Newman's character tells the other prisoners, "She knows exactly what she's doing ... she's driving us crazy and loving every minute of it". In Lucille, the title character washes a motorcycle, and seems to be creating a self-reflective sexual reverie. Her space is only interrupted by the man with the mirrored glasses (also a Cool Hand Luke reference) at the end of the piece." &lt;a href="http://archive.freewaves.org/video/lucille"&gt;(FreeWaves)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Jeanne Dielman, 23 Commerce Quay, 1080 Brussels,  Pts. 1 and  2</text>
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                <text>Dub of VHS filmed from 16mm print projected on a wall. I taught this film frequently in feminist film classes. It never stops giving: ideas about watching, time, and female's agency as actor, director, viewer, and "homemaker." &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;&lt;/span&gt;</text>
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                <text>&lt;a href="https://www.criterion.com/current/posts/1215-a-matter-of-time-jeanne-dielman-23-quai-du-commerce-1080-bruxelles" target="_blank" rel="noreferrer noopener"&gt;Criterion Essay, Ivone Margulies (2009)&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.thecine-files.com/teaching-jeanne-dielman-23-quai-du-commerce-1080-bruxelles/"&gt;The Cine-Files (Fall 2017)&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.artforum.com/print/200404/in-her-own-time-an-interview-with-chantal-akerman-6572"&gt;In Her Own Time: An Interview With Chantal Akerman (ArtForum, 2004)&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.newyorker.com/culture/richard-brody/postscript-chantal-akerman" target="_blank" rel="noreferrer noopener"&gt;Postscript: Chantal Akerman (New Yorker 2015)&lt;/a&gt;</text>
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                <text>&lt;span&gt;"A singular work in film history, Chantal Akerman’s &lt;/span&gt;&lt;em&gt;Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles&lt;/em&gt;&lt;span&gt; meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world." &lt;a href="https://www.criterion.com/films/302-jeanne-dielman-23-quai-du-commerce-1080-bruxelles"&gt;(Criterion)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades. -&lt;a href="https://www.criterion.com/films/302-jeanne-dielman-23-quai-du-commerce-1080-bruxelles"&gt;Criterion Collection&lt;/a&gt;</text>
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                <text>Filmed from 16mm print off a wall for teaching and put on two VHS tapes.</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                  <text>Alexandra Juhasz</text>
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                  <text>Emily Fairey</text>
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                  <text>Brianna Jones</text>
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              <text>Sara Gómez</text>
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              <text>For research, teaching, and educational use please use CONTACT US in About section to make a request for access.</text>
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              <text>Instituto Cubano del Arte e Industria Cinematográficos</text>
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                <text>One Way or Another (De Cierta Manera)</text>
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                <text>I love to teach this film in feminist documentary because of its groudbreaking integration of documetary and fiction as well as for Gomez's important role as a woman and feminist and radical filmmaker within Third and Cuban cinema.&lt;br /&gt;&lt;span&gt;&lt;/span&gt;</text>
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                <text>1974</text>
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                <text>feminist, Latin/x, Cuban, revolutionary, Third Cinema, fake documentary, woman director, Social Realism</text>
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                <text>&lt;a href="https://walkerart.org/magazine/u-of-m-students-respond-to-one-way-or-another-de-cierta-manera" target="_blank" rel="noreferrer noopener"&gt;Walker Art: U of M Students Respond to "One Way or Another (De cierta manera)"&lt;/a&gt;</text>
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                <text>&lt;a href="https://iupress.org/9780253057051/the-cinema-of-sara-gomez/"&gt;Reframing Revolution: The Cinema of Sara Gómez&lt;/a&gt;, edited by Susan Lord and María Daridad Cumaná &lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez"&gt;The Brief and Brilliant Career of Sara Gómez&lt;/a&gt;, by Richard Brody published January 31st 2025 in the New Yorker</text>
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                <text>"&lt;span&gt;In Miraflores, Cuba, the growing romance between Mario, a factory worker, and Yolanda, a schoolteacher, throws into relief the differences in their perspectives and values in Revolutionary Cuba." &lt;a href="https://www.imdb.com/title/tt0075915/" target="_blank" rel="noreferrer noopener"&gt;(IMDB)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>&lt;a href="https://www.janusfilms.com/films/2079"&gt;Janus Films&lt;/a&gt;</text>
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                <text>The only feature from the radical Afro-Cuban filmmaker Sara Gómez—who also worked as an assistant director with Agnès Varda and Tomás Gutiérrez Alea before her untimely death at age thirty-one—is an extraordinary portrait of post-revolution Cuba. Blending invaluable documentary footage with a loose narrative about the budding relationship between an outspoken schoolteacher (Yolanda Cuellar) and a young worker (Mario Balmaseda) facing a moral crisis, One Way or Another depicts revolution as an ongoing process that takes place at the level of community—among friends, lovers, coworkers, teachers, students, and parents, all of whom must work together to negotiate a new social order. Above all, Gómez offers a trenchant intersectional critique of the lingering sexism and machismo that, she argues, must be cleared away in order to create a truly just society. -&lt;a href="https://www.janusfilms.com/films/2079"&gt;Janus Films&lt;/a&gt;</text>
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                <text>Tricontinental Film Center</text>
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                <text>Stars Yolanda Cuéllar, Mario Balmaseda, Mario Limonta&#13;
&#13;
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                <text>“Sara Gómez’s Revolutionary Cuba” film collection on the &lt;a href="https://www.criterionchannel.com/sara-gomez-s-revolutionary-cuba"&gt;Criterion Channel&lt;/a&gt;. (Requires subscription.)</text>
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                <text>De Cierta Manera</text>
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                <text>1977 (filmed in 1974 but not released till 1977, following Gómez’s death)</text>
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                <text>This dub was a gift to me from another Professor at Pitzer so that I could use it to teach women's and feminist film. Not sure I ever did. However, when I was editing my newest video, "Please Hold," in March 2024 as part of their amazing Film/Video editing Residency, I had the great fortune to see a show on Malador also at the Wexner Center for the Arts, &lt;a href="https://wexarts.org/exhibitions/sarah-maldoror-tricontinental-cinema"&gt;Sarah Malador: Tri-continental Cinema&lt;/a&gt;.&lt;br /&gt;&lt;div class="section"&gt;
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                <text>This revolutionary bombshell by Sarah Maldoror chronicles the awakening of Angola’s independence movement. Based on a true story, Sambizanga follows a young woman as she makes her way from the outskirts of Luanda toward the city’s center looking for her husband after his arrest by the Portuguese authorities—an incident that will ultimately help to ignite a national uprising. Featuring a cast of nonprofessionals—many of whom were themselves involved in anticolonial resistance—this landmark work of political cinema honors the essential roles of women, as well as the hardships they endure, in the global struggle for liberation. &lt;a href="https://www.criterion.com/films/33101-sambizanga"&gt;The Criterion Collection&lt;/a&gt;</text>
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            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="5096">
                <text>Third World Newsreel</text>
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          <element elementId="55">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="5097">
                <text>Produced collectively by women, this documentary is a valuable historical document of the origins of the modern women's movement in the United States. The film delves into the lives of ordinary women from different races, educational levels and class Filmed mostly in small consciousness-raising groups, from which the women's movement grew, the women talk about the daily realities of their lives as wives, home-makers, and workers. They speak, sometimes with hesitancy, often with passion, about the oppression of women as they see it. THE WOMAN'S FILM was made entirely by women in San Francisco Newsreel. It was a collective effort between the women behind the camera and those in front of it. The script itself wsa written from preliminary interviews with the women in the film. Their participation, their criticism and approval were sought at various stages of production. Third World Newsreel’s historical Newsreel collection provides contemporary audiences with a vast archive of political documentary films chronicling the social movements of the late 1960s and early 1970s. Preserved with support from the Women’s Film Preservation Fund of New York Women in Film &amp;amp; Television. - &lt;a href="https://www.twn.org/catalog/pages/responsive/cpage.aspx?rec=895&amp;amp;card=price"&gt;Third World Newsreel&lt;/a&gt;</text>
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      <tag tagId="330">
        <name>1971</name>
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      <tag tagId="57">
        <name>activist</name>
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      <tag tagId="59">
        <name>collective</name>
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      <tag tagId="60">
        <name>consciousness raising</name>
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      <tag tagId="58">
        <name>documentary</name>
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      <tag tagId="50">
        <name>feminist</name>
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      <tag tagId="49">
        <name>racism</name>
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      <tag tagId="329">
        <name>San Francisco Newsreel</name>
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      <tag tagId="53">
        <name>The Woman's Film</name>
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      <tag tagId="61">
        <name>woman director</name>
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